2015 12 30-2016 04 10 MeKuSa.Annals IX is a (non) retrospective project by leaders of Klaipeda’s informal art scene. The show will present MeKuSa’s works from 2008-2015 which encompass (counter)culture, (non)art, music and other forms. Visitors will be able to view documentation of different types of (counter)culture activities, photos of performance interventions, video documentation of the artistic process, video and films by members of the association (Person with a Video Camera, John OFF, Film without a Title, without a Beginning or an End), objects, artifacts, sound installations, sketches, archival material, reports and documentation about the Ont GRINDu grindcore music festival.
2016 03 07-04 01 Screenings of Jonas Mekas’ film Lithuania and the Collapse of the USSR, dedicated to the twenty-fifth anniversary of the restoration of Lithuania’s independence, began its series of showings at the Lithuanian Children’s and Youth Center in Vilnius on Monday, March 7, at 5 p.m.
2016 04 18 . The Jonas Mekas Visual Arts Center and the Lithuanian National Martynas Mažvydas Library presented an improvised discussion/action Art + Life + Joke = FLUXUS? During which we proved that Fluxus is still alive and well!
2016 05 12-06 14 Roslyn Bernsteinand and Shael Shapiro “Illegal Living”. Both authors of the book, Roslyn Bernstein and Shael Shapiro, attended the book launch in Vilnius. The book launch became a mini-project/exhibition during which visual material was shown from the book: the history of the building in SoHo, as well as documentary slides of George Maciunas’ friendship with John Lennon and Yoko Ono, as well as the activities that went into the creation of the artists’ cooperative.
2016 06 14-06 30 The exhibition Childrens’ World Has Closed. (Because the Letter “L” has Ended) was part of the defense of Monika Ivaškaitė’s Master’s thesis. The young artist, relying mostly on concepts propagated by the artistic realism of painters such as Luc Tuymans, Elizabeth Peyton, Karen Kilimnik, delves into topics related to childhood and even infantilism.
2016 05 29 – 11 30 The Architecture Foundation will be representing Lithuania at the Baltic Pavilion and will present, among other architectural works, George Maciunas’ Atlas of Russian History from the Fluxus collection managed by the Jonas Mekas Visual Arts Center.
2016 09 02 – 10 31 A Postcard to Vilnius – Love, George. The Martynas Mažvydas National Library of Lithuania presents two exhibitions for its opening after reconstruction: an installation with a floating tape by Žilvinas Kempinas, a famous expatriate artist and winner of the national prize, and an exhibition A Postcard to Vilnius – Love, George (Atvirlaiškis Vilniui – su meile Jurgis).
2016 09 13 – 11 16 Jonas Mekas 365 days. The exhibition is displayed on twelve separate obelisks each showing that month’s videos on a small monitor. The entire video diary consists of 365 video films.
2016 11 25 – 12 23 ŽYM ŽYMAS*. A retrospective of the works of Ramūnas Paniulaitis (1957-1982), one of the first conceptual artists in Lithuania, will open at the Jonas Mekas Visual Arts Center in Vilnius, Lithuania on November 23, 2016 at 6:00 p.m. This will be the second exhibition of Paniulaitis’ works. The first took place together with Česlovas Lukenkas in 1981 at the Vilnius Evening Adult Art School. After the death of the artist almost four decades ago, his works had disappeared from the public eye.
2016 12 29 -2017 02 12 Darius Vaičekauskas’ Dekonstrukcijos/Deconstructions exhibition will open at the Jonas Mekas Visual Arts Center (Malūnų g. 8, Vilnius) on December 29 at 18.00. The Dekonstrukcijos/Deconstructions series is based on this rejection or “double destruction” tactic, where Vaičekauskas chooses the works of various Lithuanian photographers, classicists and non-classicists and “destroys” them by shredding them into horizontal pieces. In this way, a colleague’s creation or a certain iconic (re)presentation (not the original, but a digital copy?) is symbolically destroyed and, at the same time, the artist escapes his aura of being exceptional. So, it is as if the act of “destruction” represents the history of Lithuanian photography and its hierarchy. However, “destruction” is only the initial intent because Vaičekauskas’ deconstruction leads to a new meaning or an interception into the existing system.